【摘要】：隨著時(shí)代的進(jìn)步,藝術(shù)的腳步也從未停止過,具象油畫作為繪畫藝術(shù)領(lǐng)域的一元,它的藝術(shù)表現(xiàn)形式也更為多樣化。研究和探索藝術(shù)真諦已經(jīng)不僅僅是藝術(shù)家的使命,也漸漸地得到了社會(huì)的關(guān)注。藝術(shù)家不斷地完善自身,探索和挖掘具象油畫的藝術(shù)魅力,用自己的獨(dú)特的審美方式去創(chuàng)造別樣的藝術(shù)美。 具象油畫的方向始終都追隨真實(shí)的世界。這種真實(shí)性,就是不斷接近物象本質(zhì)的過程,是揭示隱藏于深處的物質(zhì)本源。畫家在創(chuàng)作的工程中總是用客觀寫實(shí)的手法去表現(xiàn)現(xiàn)對(duì)象,把畫面經(jīng)營的更合乎觀者所看到的景象。具象畫家在創(chuàng)作時(shí)追求美是永恒的任務(wù),但是他們更看重真實(shí),只有完完全全的再現(xiàn)了生活的真實(shí),才是合格的具象油畫。油畫家創(chuàng)作具象油畫時(shí)運(yùn)用油畫的色彩、形體塑造和用筆的厚重感去呈現(xiàn)繪畫語言的表現(xiàn)力和張力。具象油畫語言講究色彩鮮明,用筆渾厚、渾然流暢,造型講究語言的深度。具象藝術(shù)總是通過藝術(shù)形象的創(chuàng)造來表達(dá)藝術(shù)家的個(gè)人情感和觀念。具象油畫代表人物西方繪畫大師弗洛伊德他遠(yuǎn)離喧囂的國際藝術(shù)潮流,把自己的領(lǐng)域往縱深方向推進(jìn)。利用具象繪畫來表達(dá)自己對(duì)社會(huì)的熱愛和其內(nèi)心感受,通過帶有鮮明的個(gè)人風(fēng)格的感情色彩和對(duì)描繪對(duì)象的真實(shí)情感,實(shí)實(shí)在在的表現(xiàn)到畫面中,讓觀者感受和體會(huì)畫家的內(nèi)心情感和對(duì)藝術(shù)的執(zhí)著。具象油畫的作品看重的是作者自己的內(nèi)心感受,每一個(gè)畫家在創(chuàng)作時(shí)都在尋找自己的藝術(shù)個(gè)性與所畫的作品的銜接點(diǎn)。每一位油畫大師的繪畫語言都是在創(chuàng)作的過程中通過反復(fù)的練習(xí)和研究形成的,我們可以通過作品的色彩、造型、構(gòu)圖看到藝術(shù)家多樣的繪畫語言,用學(xué)習(xí)者的態(tài)度通過作品的表象抓住畫面背后的本質(zhì),這種最為純粹簡單化的繪畫語言,更能讓我們體會(huì)到畫家內(nèi)在的學(xué)養(yǎng)和繪畫的意義。 具象油畫成為現(xiàn)實(shí)生活的影子,我們?cè)谛蕾p這些油畫的時(shí)候,也能從影子里找到實(shí)際生活的蹤跡,而這就是具象畫家繪畫創(chuàng)作的初衷吧。藝術(shù)家一直在不斷拓寬具象油畫語言的藝術(shù)表現(xiàn)范圍,保持自己的原生態(tài)觀念,在新的歷史條件下,努力探索具有當(dāng)代精神的繪畫語言表現(xiàn)形式,使之成為繪畫領(lǐng)域重要的組成部分。
[Abstract]:With the progress of the times, the pace of art has never stopped, like oil painting as the field of painting, its art forms are more diversified. Researching and exploring the true meaning of art is not only the mission of artists, but also gradually gets the attention of the society. Artists constantly perfect themselves, explore and excavate the artistic charm of concrete oil paintings, and use their own unique aesthetic way to create other artistic beauty. The direction of concrete oil painting has always followed the real world. This reality is the process of approaching the essence of the image and revealing the source of the material hidden in the depths. In the project of creation, the painter always uses the objective realistic technique to express the present object, and to make the picture more in line with the scene seen by the viewer. It is an eternal task for figurative painters to pursue beauty in their creation, but they attach more importance to reality. Only when the reality of life is completely reproduced, is the qualified figurative oil painting. Oil painters use the color of oil painting, the shape and the thick feeling of pen to present the expressive power and tension of painting language when creating figurative oil paintings. Figurative oil painting language pays attention to the bright color, the pen is thick, the smooth, the modelling pays attention to the depth of the language. Figurative art always expresses the artist's personal feelings and ideas through the creation of artistic image. Figurative Oil painting represents Western painting Master Freud who, far from the noisy international art trend, pushes his field to the depth. The use of concrete painting to express their love of society and their inner feelings, through a distinctive personal style of emotional color and the real feelings of the object, the actual performance to the screen, Let the viewer feel and experience the artist's inner feelings and dedication to art. The works of concrete oil painting value the author's inner feelings, and every painter is looking for the connection point between his artistic personality and his painting. The painting language of every master of oil painting is formed through repeated practice and research in the process of creation. We can see the various painting languages of the artist through the color, modeling and composition of the work. Using the learner's attitude to grasp the essence behind the picture through the representation of the work, this kind of painting language, which is the purest and simplistic painting language, can make us realize the significance of the painter's inner education and painting. Figurative oil painting becomes the shadow of real life. When we appreciate these paintings, we can also find the trace of real life from the shadow, and this is the original intention of painting creation by figurative painters. Artists have been constantly widening the scope of artistic expression of figurative oil painting language, maintaining their own original ecological concept, and, under the new historical conditions, striving to explore the expression forms of painting language with the contemporary spirit. Make it an important part of the painting field.
【學(xué)位授予單位】：遼寧師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J213

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 皮道堅(jiān);;為何研究具象[J];美術(shù)大觀;2007年02期

2 杜安安;;關(guān)于繪畫中的具象表現(xiàn)[J];安徽文學(xué)(下半月);2010年09期

3 ;具象油畫展作品[J];美術(shù);1993年08期

4 楊顏愷;;從具象到抽象[J];美術(shù)界;2013年01期

5 王毅高;;清風(fēng)雅集之二 關(guān)于畫面石圖案具象與神韻的探討[J];寶藏;2013年07期

6 陳興祝;抽象與具象之間[J];美術(shù)觀察;2000年05期

7 楊勁松;我眼中的歐洲當(dāng)代具象油畫[J];美苑;2000年03期

8 李超雄;尋找真實(shí)[J];美術(shù)學(xué)報(bào);2002年01期

9 邱松;接觸抽象形態(tài)[J];裝飾;2004年10期

10 鮑冬麗;;由具象到抽象的思維模式[J];美術(shù)大觀;2005年11期

相關(guān)會(huì)議論文 前3條

1 劉大宣;葉建新;張國珍;;電視場景造型三種表現(xiàn)形式[A];中國電影電視技術(shù)學(xué)會(huì)影視科技論文集[C];2002年

2 黃楠;吳昊;;論建筑空間與人類情感[A];土木建筑學(xué)術(shù)文庫(第13卷)[C];2010年

3 李程;;《道德經(jīng)》中具象元素呈現(xiàn)與技巧探析[A];2013福建省傳播學(xué)年會(huì)論文集[C];2013年

相關(guān)重要報(bào)紙文章 前10條

1 策展人 郭恬熙;游走于抽象與具象的兩極[N];北京商報(bào);2013年

2 王濤;具象天平[N];上海法治報(bào);2014年

3 覃佐菊;具象的意義[N];文藝報(bào);2003年

4 黎小強(qiáng);具象水墨的抽象性[N];美術(shù)報(bào);2004年

5 美周刊;特米斯藝術(shù)館：新具象十人展[N];中國文化報(bào);2007年

6 記者 唐永明;視象的凝聚[N];美術(shù)報(bào);2012年

7 林娟;具象寫實(shí)的光芒[N];福建日?qǐng)?bào);2005年

8 子峰;在“具象水墨”中辛勤探索[N];中國藝術(shù)報(bào);2009年

9 沈明濤;虛構(gòu)郵集之我見[N];中國集郵報(bào);2012年

10 李振軍;抽象的藝術(shù)與藝術(shù)的抽象[N];安徽日?qǐng)?bào);2003年

相關(guān)碩士學(xué)位論文 前10條

1 陳峰;從具象寫實(shí)到具象重構(gòu)[D];山東師范大學(xué);2010年

2 張冕;淺談中國當(dāng)代具象寫實(shí)雕塑發(fā)展現(xiàn)狀[D];中央美術(shù)學(xué)院;2011年

3 馮嘯;論場景因素在具象人物畫中的情感傳達(dá)[D];西安美術(shù)學(xué)院;2012年

4 王漢英;守望具象[D];中央美術(shù)學(xué)院;2009年

5 劉娜;中國新具象油畫語言的探究[D];廣西師范大學(xué);2010年

6 楊磊;具象寫精神—對(duì)具象油畫情感表達(dá)的認(rèn)知[D];青島科技大學(xué);2010年

7 邱虹;抽象與具象·中國畫當(dāng)代藝術(shù)表現(xiàn)的走向[D];中央美術(shù)學(xué)院;2008年

8 劉兵;具象語境下的形與色[D];天津師范大學(xué);2015年

9 張鼎銘;論中西方油畫肖像藝術(shù)中的“具象”與“意象”的精神意義[D];南昌大學(xué);2014年

10 李俏;具象圖式的精神守望者[D];西北師范大學(xué);2005年

，

本文編號(hào)：2154157